I do not think he is criticizing Petrenko or the music. In connection with his answer just before it seems his critique is on the stage direction (Castorf). It is for sure not the first time that we come across some criticism of Castorf’s Ring.

Indeed, Petrenko’s reading of the Ring (I listened to the radio broadcasts, only) differs from the many others. To me it seems to be more dedicated to the transparency (and contrasts) of the moment than continuity. To me this approach is very valuable, it gives great effects and new insights. But Kollo seems to prefer other readings.

He did. He did Tristan – but only for the recordings. And he was far from being Kleiber’s fav tenor. I don’t know whom Kollo replaced in Tristan recording, but Kleiber was so unhappy with the whole result (and the tenor contributed a lot to Kleiber’s frustration), that he did all he could to forbid this recording. Fortunately, Deutsche Grammophon found its way to publish this recording despite Kleiber’s opinion. And – my humble opinion – Kollo is really miscasted for this recording – his wobbly, ugly sound really destroys the duet of the second act, where Kleiber and Margaret Price do most sublime music. The third act is ok though – there you can pardon that the voice sounds tired, used and ready for the retirement.

Please say this ain’t so. I mean, his voice is long shot. Why? Then again, he probably thinks that if Plácido Domingo is out there still embarrassing himself all the way to the bank, why shouldn’t he cash in too. But I agree with Kollo that Bayreuth has gone to the dogs.

From the archives

From the archives

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